From the neoclassic hall on the ground floor, a door on the left opens out to the small room in neo-rococo style. The unitary theme of the decorative system makes the hall a charming treasure box, embellished by a compacted, Venetian resin floor with geometric designs and luminous silk-gold tapestry.
What surprises the visitor is the intricate effect which is light at the same time, especially in the stuccos of the ceiling, mirror and doors, refined with shades of ivory, gold, and turquoise. Particularly the cornice of the ceiling in golden stucco with arabesque motifs and plants, seem to continue to refer to an autonomous growth and infinity of decorations that seem to possess an autonomous life in which it is free to “digress” onto the minor walls through drooping garlands in bloom.
At the four corners of the room, on the upper part of the walls’ corners, enchanting cupids join the walls to the ceiling, emerging from the foamy white and golden decoration, immersed in curls and branching out in waves.
The excessive care for formality is expressed in many details that try to deceive the observant eyes of simple friends and illustrious guests. The mirrors, in fact, multiply the space with continual and infinite illusions, recalling the model of the Hall of Mirrors of the artistocratic 18th-century mansions, achieved over the illustrious and lavish example of the Gallery of Mirrors of Versailles.
Despite the extreme and fanciful elegance of the interior decor of the rooms, it is evident that this villa in the 19th century was inhabited only during the summer months, and was almost never opened in the winter. The documents, in fact, testify that the house possesses very little decor and limited furniture, besides a small amount of books.